ARRI News

Camera crews from around the world share their positive WVS feedback.

On Marcus H. Rosenmueller’s new feature film “Trautmann” ARRI was involved in various steps of the project: as co-producer, camera rental, and during the post-production. In an interview, the director talks about the collaboration and their challenges in visual effects and color grading.

Equipment from ARRI Lighting helped to illuminate several student projects at the famous Parisienne film school.

The Academy Awards celebrated many films this year, such as "Green Book," "Roma," and "Bohemian Rhapsody" that were captured and lit with ARRI equipment.

At Vienna’s Burgtheater, 20 SkyPanels S60-C from ARRI are currently providing perfect stage lighting for Simon Stone’s production of “Medea.”

At the 33rd ASC Awards gala Łukasz Żal, PSC won the Theatrical Award for best cinematography for “Cold War,” while ARRI’s Franz Kraus was honored with the ASC Bud Stone Award of Distinction. The ASC Lifetime Achievement Award was given to Robert Richardson, ASC.

During the shooting of Rita Falk’s novel adaptation “Hannes,” ARRI’s Operator Control Unit OCU-1 made its film debut. DP Christian Marohl and camera assistants Sascha El Gendi and Julius Aeneas Thamer report on their experiences.

Premiering at the Sundance Film Festival 2019, “Sea of Shadows” is a dramatic documentary thriller. Director and cinematographer Richard Ladkani chose ARRI Master Grips to aid in the challenge of filming on his own at sea.

The opening ceremony celebrating the 100th anniversary of the Bauhaus was filmed with four ARRI AMIRAs and two ALEXA Minis and streamed live on Arte Concert. Director Thomas Janze talks about the camera setup.

Since it’s Jury Prize win at the Cannes Film Festival in May 2018, “Capernaum” has been impressing critics and audiences alike. Recently it has been nominated for Best Foreign Language Film by the Academy Awards and BAFTA.

Exploring the breaking down of traditional ideals of Japanese refinement through the avant-garde dance form known as Butoh, “The Dance” compiles slow motion, still photography, and stop-motion all lit with ARRI lighting.

In “The Dance,” Sekizawa explores the breaking down of traditional ideals of Japanese refinement through the avant-garde dance form known as Butoh. This project compiles slow motion, still photography, and stop-motion to create one seamless 10-second looping film.